The Democratic advocate. [volume] (Westminster, Md.) 1865-1972, 1887-10-29

Western Maryland College, September Is
BY T. F. Rinehart, Professor Of lnstrumen
tai Music.
YOUNG LADIES AND GENTLEMEN u
wish to preface what / have to say to yor
and to play for you this afternoon by few
words concerning that much misunderstood
expression, classical music" To a great
many people it signifies nothing more mol
less than jargon of unmeaning sounds, ii
other words noise. Concerning this kind
of music, when written for the piano, the
idea is rather prevalent that the loud pedal
is put down at the beginning Of the playing
and kept there till the close; as much sound
as possible is to be banged out of the in
strument, and the audience, nolenS UoLens,
is to be enchanted with the result. How
very different is tie actual meaning
Classical music is only music that has
become standard; music that contains innate
excellence that causes it to last. Some peo-
pie may say that they do not understand it;
that it is unmeaning to them. That is
very likely. But are there not great works
in other realms of art equally blank to the
minds of many? Does everyone under
stand all that Homer says, especially when
coming to the untutored ear In its original
form? Or does everybody appreciate all
the niceties of thought and diction that are
found in Hamlet or the Merchant Of Ven
ice? 1t seems to me that the same rever-
ence that we show to great works in litera-
ture that we do not fully understand, we
should extend to the majestic symphonies
of Beethoven. But then one will say, II
don't hear any tune in it." Well, in
Shakespeare's Tempest every line does not
smack of the most delicious ALTERATION,
each sentence is not love story in itself, nor
is every shade of color in one Of Aaphael's S
paintings a vivid blue or an intense yellow.
In order to appreciate sunshine one must
have shadow. 1t is a trite but true saying
that contrast and variety make life spicy.
Besides, great musical works are often
greatest because they are written scientif-
calIy. The genius in music is the man
who can clothe these bare and rafting
bones of science, of theory, with the warm,
beautiful covering of exquisite melody,
What the complainers of classical music
should do is not to cry classical music down
to their standard, but earnestly endeavor to
elevate themselves to its proper understand
ing. 1t is wise maxim to never condemn
a thing because one cannot understand it.
It is much more becoming to bear in mind
Gethes last words, "more light" 1t is
much more becoming to humbly and zeal
ously set about the study of music, and to
cultivate taste for works of merit.
Many people, even in this enlightened
day, hold to the false and foolish idea that
music is simply an accessory accomplish
ment, unworthy of strong mind, and
only suited to the ladies. hasten, young
ladies, 10 add that I do not believe single
word Of it. But the inclination with such
people to play little or sing little is too
strong to be overcome, otherwise they would
Danish music into oblivion. Music Is not
a superficial fashion nor an accessory ac-
complishment. 1t is an art governed by
laws as rigid as those of painting or sculp-
ture.
Nor is mere mechanical dexterity, in
piano playing for instance, all that is nee
essaFy 10 order to consider q musical educa-
ton complete. Que makes ridiculous
travesty Of good music who says that. You
might as well say a reader who glibly pro-
nounces words of five syllables is an elocu-
zionist. The cases are about similar. Mu-
sical taste is necessary, and musical taste
will come to him or her only who indus
triously sets about the study of standard
music.
Several of the selections that will play
this afternoon are what are called sonatas
| wish to tell you what that word means;
Asonata is form of composition consisting
of several movements, each one having a
unity in itself, yetalI uniting SO as to form a
perfect whole.
MOZART.
| cannot conceal from you, young ladies
and gentlemen, that | have preference for
Mozart, feeling ttat has love and a
compassion combined. 1t is impossible to
think of him without this commingling of
ioy and sorrow, awe and familiarity. His
was nature singularly at variance with
his surroundings. A gentle, refined, sensi-
tive man plunged into chaos of triumphs
and embarrassments.
We can all appreciate the beauty of life
devoted to the advancement and perfection
of one of the most refining and elevating of
the arts. But when we see that man strug-
alinp against poverty, surrounded by mis-
erable, designing friends, who rob the very
hand they clasp in pretense Of affection,
liberal in his views, conciliatory toward his
enemies, writing works worthier of a god
than man, and persisting in his labors till
his hand actually refused to hold pen to
paper,-respect and love are hardly enough;
one wishes to do something abject to show
appropriate yeneration and awe. That
was Mozart One of the sweetest, truest,
gentlest, noblest hearts that ever beat in
human breast
1t is mistaken idea formed BY some that
Mozart had no need to study; that he was
what might be called an intuitive musician.
There never was harder student of musi-
cal composition than he. And yet his gen.
ius was something remarkable.
At the age of six years he was SO fan
advanced in piano playing that, under the
care Of his father, be made an artistic tour
to Vienna, Paris, London and other art
centres, astonishing the musical world BY
his able rendition Of difficult classical works
When sevan wears of aoa ha eoYnrozod and